Satirical, Soulful ‘A.D. 16’ Premieres at Olney

The Bible leaves a gap between the time Jesus was born until he reached age 30. Composer and lyricist Cinco Paul (Despicable Me) in collaboration with Bekah Brunstetter took it upon themselves to fill that void and imagine what life in Nazareth would be like at the time Jesus was 16 years old.

It’s a safe bet that over two thousand years ago Jesus wasn’t fine tuning his TikTok performance or hoping for a new Bluetooth speaker or PlayStation 5. He was, according to Paul and Brunstetter, just Jesus—pensive, caring and inspiring. And his teenage neighbor Mary Magdalene who just made her way to Nazareth with her widowed father Jacob was smitten by this son of a carpenter and tried everything in her power to make it a two-way street. She takes “love thy neighbor” to a new level.

The dynamic between the two shape the core storyline of a spanking new musical making its world premiere at the Olney Theatre Mainstage called A.D. 16. Mind you that the actors portraying Jesus and Mary (Ben Fankhauser and Phoenix Best, respectively) can only see 16 in their rear-view mirrors so you will need to rely on your imagination.

Familiar themes from the Bible are presented mainly in a light-hearted satirical manner in both song and dialogue. However, others depict cruelty and punishment and form the tensest moments in the show.  Strict laws, such as a girl must accept a marriage to a boy if the boy’s parent offers him, or girls cannot be outside the house after dark surface in the story. And most critical to the plot, lepers who are quarantined in a squalid colony cannot be allowed back into the town.

But the values that Jesus preaches regarding generosity, humanity and love try to break through the darkest moments. Using satire, Jesus "turns the other cheek" and works on his healing powers, to name a few.

Director Stephen Brackett guides a spirited talented cast and creative technical crew, and in conjunction with a terrific score and lyrics, the production contains all the ingredients of being a crowd pleaser. At times irreverent, rambunctious, soulful and campy, A.D. 16 is entertaining regardless of one’s faith.

Paul’s score dominated by R&B and 90’s hip-hop genres is up to the task allowing the cast to showcase their considerable vocal talents. His lyrics are witty and emotional and work well with Brunstetter’s book.  Music Director Christopher Youstra and his 8-piece orchestra perfectly support the vocals. Katie’s Spelman’s choreography is effective and precise.

..."irreverent, rambunctious, soulful and campy, A.D. 16 is entertaining regardless of one’s faith."

In what might be the most phenomenal set I’ve seen on Olney’s Mainstage, Scenic Designer Walt Spangler and his team erected a stage-wide multi-level, multi-dimensional set on a turntable displaying stone structures of huts and similar dwellings and switching to other venues, such as a leper's colony and a jail. The multiple sets on the turntable are put to good use in a scintillating travel scene as they revolve in a clockwise manner. The set plus the extraordinary period costumes designed by Emilio Sosa and fantastic lighting designed by Colin K. Bills craft the perfect backdrop to the story and its presentation.

Mary, played by Phoenix Best in a sensational performance, noticed her neighbor Jesus and instantly fell for him. Jesus, projecting a calm, soothing understated manner by Ben Fankhauser, was considered an outcast, and a trio of sassy expecting girls from the village—the Nazarene Girls to be precise (Jade Jones, Chani Werely and Adelina Mitchell) -- tried to dissuade Mary from pursuing him. Their big number “That Boy” conveys that message.  For her part, Mary showing a feminist side criticizes the girls for accepting the fact they are merely considered property in a man’s world. The opening rousing group number “It’s Not Easy Being a Girl (in Nazareth)” sets the tone.

As she interacts with Jesus, Mary picks up on Jesus’ way of thinking and tries to emulate that philosophy and his values to impress him with mixed results.

The harsh laws are gleefully enforced by a trio of Sanhedrin Officers played by Calvin McCullough, Jared Loftin and Christian Montgomery. They are the villains of the show who prosecute violators and carry out the punishment.

Ironically, in enforcing the strict provisions contained in Leviticus and other books from the Old Testament, these officers are represented as swishy, effeminate men most likely to garner chuckles from the audience. It should be pointed out that this stereotype is similar to the way gay men were depicted in early 20^th century films and theatre.

Though the characters are not explicitly gay, their portrayal was not all that subtle. For instance, one of the men, Nicholas, mentioned that he has a wife but was quick to clarify that she is a woman. In another scene, Mary asks him, “What makes you a man, that you have a sword?”  Their caricatures may elicit some laughs, but I don’t think the creative team should expect a GLAAD Award.

A.D. 16 is marked by stellar performances. As Mary, Phoenix Best exhibits her Broadway (Dear Evan Hansen) and national touring chops. Ms. Best is a star in the making with an outstanding soprano voice. She performs in several group numbers including “Jesus Loves Me” and her moving solo “Better than This.” Ms. Best appears most comfortable in musical moments, but her overall performance shines brightly.

Ben Fankhauser as Jesus and Phoenix Best as Mary

As Jesus, Ben Fankhauser does a fine job of conveying the earnestness and seriousness of the boy. Also possessing strong vocal skills, Mr. Fankauser excels in “You Did it for Yourself” whereby he points out to Mary that her risky effort to take the lepers back to town was more about her than for the benefit of the lepers themselves.

Broadway veteran Alan H. Green is excellent as Mary’s father Jacob. He is a controlling dad in which Mary has difficulty accepting. Sadly, the widower had preferred a son to a daughter and expresses that belief in the soulful song “If She Was a He.” At the end, he admitted his love for her and literally had the scars to prove it. Mr. Green’s acting was stellar throughout the production.

Other notable members of the cast include Kelli Blackwell, Jade Jones, Jared Loftin, Calvin McCoullough, Adelina Mitchell, Christian Montgomery, Da’Von Moody, Chani Wereley and an Ensemble consisting of Ales De Bard, Sylvern Groomes, Jr., RJ Pavel, John Sygar and Kanysha Williams.

Any opening night will produce a hiccup or two. On this night a top of a torch (facsimile) flew into the audience. From my perch it appeared that no one, thankfully, was injured and I can predict with great confidence that it won’t happen again.

A.D. 16 is an entertaining production that is performed by a talented cast.  Credit Artistic Director Jason Loewith and the team at Olney Theatre Center for taking a risk of putting on a brand-new musical amidst a pandemic and other challenges. In my opinion the risks were worthwhile, and I urge folks to enjoy this fine theatrical experience. 

Running time. Two hours and 15 minutes with an intermission.

A.D. 16 runs through March 20 (Extended) at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting here.

Photos: Teresa Castracane Photography

No Rainbow Over the Kingdom

Spoiler Alert: If you plan on watching Kingdom currently streaming on Netflix or are in the midst of doing so and don’t want aspects of the plot divulged, read no further.
 _______________________________________________________________________

Nick Jonas as Nate Kulina in 'Kingdom'

Over the years, gay people had been portrayed in movies as depressed, suicidal, addicted or other dark and gloomy individuals. Sometimes the opposite is presented as they are cast as buffoons or ultra-effeminate.  Many were killed off in some fashion or another. These negative stereotypes were captured in the 1995 film The Celluloid Closet that was based on Vito Russo’s 1981 book of the same title.

Of course, as gay acceptance began to increase in society and pressure on the entertainment industry was applied by such organizations as GLAAD, the portrayal of these characters had shifted to more positivity led by numerous changes in television. Ellen, Will & Grace and Modern Family helped paved the way for other shows like Shameless, Orange is the New Black, Riverdale, Schitt’s Creek, etc.

However, with the 40-episode Kingdom, the AT&T Original Series, which had run on DirecTV from 2014-2017 and is now streaming on Netflix, we took a step backwards when it comes to the outcomes of gay characters.

Kingdom is a gritty drama that centers on the lives, loves, victories and failures of a group of people connected to the Navy Street Gym and the world of Mixed Martial Arts in Venice, California. Far from glamorous, the series exposes society’s underbelly including drug addicts, alcoholics, sex offenders, sex workers and the like.  Battles in the ring are ferocious and thrilling; most are bloody.  The well-received 3-season, 40-episode series was created and produced by Byron Balasco who, along with his team, penned the episodes.

The singular main character in Kingdom who was gay wound up tragically shot to death during a violent altercation after coming out to his father. The killing, which was staged towards the end of the penultimate episode, was perpetrated by a bar bouncer in an attempt to break up the melee.  This is a further example of another gay character that writers saw fit to have perished. It could have and should have gone in another direction.

What makes this tragedy so heartbreaking is that this character, Nate Kulina, played sensitively and understated by hunky Nick Jonas of the boy band Jonas Brothers, was the one character who had his shit together, was clean, had no substance abuse issues, no baggage, and was not embroiled with any conflict other than his battles in the MMA cage and coming to terms with his sexual orientation.

Nate, in his early 20’s, was the younger brother of Jay Kulina who, was played brilliantly by Jonathan Tucker.  Both are fighters. Their father Alvey Kulina (played exceptionally well and convincingly by Frank Grillo) was the co-owner of Navy Street where he, as a former fighter, trains others in the bloody, violent, highly competitive world of MMA.

Nate’s journey towards discovering his sexual orientation gradually came to light during the second season.  His declining interest in a girl he was seeing was apparent, and then Nate’s attention was directed towards a hook-up app where photos of various guys were displayed as he pondered his next steps. 

So, for the viewing audience, the cat was out of the bag. But Nate needed to maintain this secret, and he tried desperately to do so.

Nate met a British man named Will through another contact. Will sought to bring the two closer together, but Nate’s being in the closet was a daunting barrier.  Will handed him a business card with a handwritten message suggesting a dinner date at some point when he was ready.

Jonathan Tucker (Jay), Nick Jonas (Nate) and Frank Grillo (Alvey)

Jay, Nate’s brother, discovered the card and unbeknownst to Nate, examined his phone in which he uncovered a text thread between Nate and Will. He used the phone to lure Will to a bar and proceeded to the location to confirm his growing suspicions. Jay promptly left after a cordial exchange with Will but never mentioned any connection to Nate. 

Shortly after, Nate received a phone call from Will inquiring as to when he will be showing up for the rendezvous. He didn’t know what Will was talking about.

Nate noticed the card among Jay’s belongings as the older brother was hospitalized after a fight in the cage. He checked his phone only to detect the bogus messaging and felt anguish that his true sexual identity has been discovered.

One would characterize Jay as a badass with mountaintop highs and deep valley lows, earnest and talented, volatile and violent that is fueled by alcohol and drugs but also caring and devoted. He’s a complex man, a good fighter and devoutly loyal to his brother and his drug addicted mother. His relationship with his father Alvey had been tense.

In an extremely positive scene, Nate comes out to Jay when he acknowledged that Jay learned of his situation. You may view the edited clip of how this unfolded here.

Jay encouraged Nate to tell their father conceding that Alvey most likely wouldn’t be too cool with it. In the meantime, whispers and rumors were spreading among the MMA community about Nate’s sexual orientation, which could be detrimental in this close physical contact sport.

While the coming out scene with Jay could not have been better, the one with Alvey could not have been worse. Alvey is a troubled man who besides the pressures of running the gym and training an assortment of characters, he had a failed marriage and several girlfriends who had left him. Despite his heavy, and I do mean heavy drinking, at around age 50 Alvey’s body (actually it’s Frank Grillo’s) is shredded. He is also volatile and short-tempered and facing a potential diagnosis for a neurological disease as he was preparing for a comeback fight in a legends tournament. For good measure, Alvey’s estranged mother attempted suicide, and he and his sons went to Tucson, Arizona where she was hospitalized.

It was at a cowboy bar in Tucson where the fateful scene took place. The manual on the best way to come out to a parent was thrown away during this scene. Both Nate and Alvey were drinking. Alvey’s mother had attempted suicide, which weighed heavily on his mind. He stressed about his possible illness and his upcoming fight. Plus, Alvey’s personality suggested that he wouldn’t accept his son as both gay and a MMA fighter.

Part of the cast of 'Kingdom'

“I’m gay,” Nate muttered softly a couple of times. “Your son’s gay.” Alvey exploded and asking, “You’re gonna tell me you’re a fucking faggot?”

Clearly, these were not the right conditions for this conversation to take place.  Yet, it happened, and you can view that tragic scene here . 

Alvey was obviously shaken over this tragedy and saw his role in it. He lost a dear son and for that he was broken. Prior to the legends fight in the final episode, Jay presented a touching and dramatic eulogy to Nate in the ring. You can view it here . 

In the hyped up machismo and testosterone-laden world of MMA where close body contact is intrinsic to the sport, Balasco deserves credit for weaving in a gay storyline in such an environment. And keep in mind this was only one of numerous plotlines and a minor one at that in the very well-acted and photographed Kingdom.

But with so many other characters with self-destructive tendencies and baggage, the one he chose to be killed was the gay character that everyone was rooting for. It was supremely disappointing, if not maddening, as yet another gay character was deemed expendable.

MTV's Role in LGBT Acceptance

Macklemore performing ‘Same Love’ at VMA’s

It’s a pity that Miley Cyrus’ near pornographic twerking, tongue and finger movements received so much attention following the recent MTV’s Video Music Awards extravaganza.  It overshadowed Bruno Mars, Lady Gaga, and Justin Timberlake’s stunning performances and the fleeting reunion with the latter’s fellow ‘N Sync pals, as well as other highlights from the show. 

Also driven to the background by Cyrus but of significance to the LGBT community were the poignant remarks made by Seattle rapper Macklemore (Ben Haggerty) following his and producer Ryan Lewis’ receiving the award for Best Video with a Social Message for the gay anthem “Same Love” and the subsequent performance of the hit single.

“To watch this song in the last year spread across the world is a testament to what is happening right now in America on the forefront of equality,” said Macklemore while accepting his statue. “Gay rights are human rights, there is no separation.”  The video has over 70 million hits on You Tube alone.

Macklemore told The New York Times he composed “Same Love” in March 2012 after reading an article about a bullied gay teenager who committed suicide.  It was recorded during Washington State’s referendum battle for same-sex marriage to promote marriage equality, and it also condemned homophobia in hip hop, society and the mainstream media.  

“I just wanted to hold myself accountable and hold hip-hop accountable and bring up an issue that was being pushed under the rug,” Macklemore said. The video calls out other hip-hop artists for using gay slurs and religious leaders for refusing to support marriage equality.

As a straight man, he said he also wanted to show his support for his two gay uncles and his gay godfather. Indeed, the cover artwork for the single features a photograph of Macklemore’s gay uncle and his partner.

Jason Collins, the NBA player who came out earlier this year as gay, introduced the duo who performed the song with singer Mary Lambert and surprise guest Jennifer Hudson—another highlight-worthy moment in the show.

The MTV Music Video Awards has always been edgy and there were memorable moments for gay folks to enjoy throughout its run.  Remember 10 years ago the Madonna-Britney-Christina kiss?  Or last year, there was the recently out Frank Ocean singing “Thinkin Bout You”.  Or Ricky Martin, Ru Paul, Pet Shop Boys, Cher—the list goes on.

The point is, MTV, which debuted on August 1, 1981, has continually provided a platform for LGBT rights advocates and produced numerous shows with LGBT characters.  While the network has changed its format from wall-to-wall videos to a bevy of reality TV shows, it maintained its social consciousness especially in the LGBT sphere and included such related issues as bullying and teen suicide. 

Consequently, MTV in 2010 became the first network ever to receive an “Excellent” rating in GLAAD's Network Responsibility Index report.  GLAAD is the principal organization that works directly with news media, entertainment media, cultural institutions and social media.

From the early years of MTV’s iconic series The Real World, LGBT characters were a part of every installment.  That included the sad but inspiring journey of Pedro Zamora, a gay man in 1994 San Francisco who courageously came out to his housemates and to the world that he had HIV/AIDS and his brave but losing battle to live with the disease. 

The series depicted other LGBT folks with the same issues, personal problems, strengths, weaknesses, dreams, and the need for love as their straight counterparts.  Some were wonderful beings; others were loathsome— a mix that you would ordinarily find in straight America.

The True Life series on occasion discussed realities of LGBT life.  One episode in 2003 featured a gay teacher in Texas and in 2004 same-sex couples getting married.  In 2012 the network co-sponsored two specials for the “It Gets Better” project.  This past year, they also included a gay man struggling to come out as HIV positive in their special “I’m Positive,” which earned a Daytime Entertainment Emmy nomination.

The scripted show Awkward has two featured gay characters, and America’s Best Dance Crew has gay competitors.  Teen Wolf also includes two openly gay characters with a dose of homoerotic imagery and dialogue.  The straight characters shrug it off. 

The upshot of this LGBT-inclusive programming is that positive images of LGBT folks have been delivered to an entire generation since the early 1990’s.  The sitcom Will and Grace has been largely credited for allowing America’s heartland to view gays as normal, everyday people with the same problems and joys as the rest of the country.  When LGBT people are portrayed in that light, there is more acceptance on the part of the larger population making the environment more comfortable for LGBT folks to come out.  That puts a real human face on what was once considered abstract.

What MTV has done and continues to do is casting a positive light on LGBT people for a younger generation; the impressions on LGBT teens cannot be overstated.  It is no coincidence that issues, such as marriage equality, receive the highest level of support from teens and young adults.  And I wonder how many young LGBT lives have been saved by the positive reinforcement of MTV’s programming.    

“MTV has a long history of sharing groundbreaking and diverse portrayals of lesbian, gay, bisexual and transgender people that help Americans understand our community,” said GLAAD spokesperson Wilson Cruz in response to my inquiry. “When other networks have shied away from stories that showcase the diversity of the LGBT community, MTV has been known to boldly discuss LGBT issues as well as include LGBT people of color and transgender people.”

The Video Music Awards and the platform it offers to pro-LGBT artists adds on to the already great body of work by MTV and keeps the momentum going on the side of equality and justice.  Thankfully, young people are influenced by this, and they represent our future.